Using a literary and arts magazine to promote mental health and wellness among trainee healthcare professionals: lessons from a Canadian student-led project.

Breathe is a student-led literary and arts magazine whose goal is to provide a platform for creative expression about mental health issues and promote mental wellness among trainee healthcare professionals using student-submitted art and written pieces. Select pieces were published to improve readers' understanding of and self-reflection on mental health. Common themes among the submissions include life outside of healthcare, imposter syndrome and coping with stress. This novel project had high satisfaction reported by 87.5% of surveyed readers. We advocate for improved mental health awareness and increased use of artistic expression as a coping strategy against stressors in healthcare education worldwide.

The interplay between brain lesions and painter´s creative transformations / A interação entre lesões cerebrais e transformações criativas do pintor

This narrative review addresses the complex relationship between neurological diseases and artistic expression, which can have a profound impact on a painter´s works. This exploration highlights the dynamic and ever-evolving connection between neuroscience and art, offering insights into the extraordinary ways in which the human brain and artistic expression intersect and evolve. Following brain damage, there may be the emergence of sudden artistic talents, intriguing changes in the styles of established artists, the paradoxical facilitation of artistic abilities despite the cognitive decline consequent to these injuries, besides coping strategies that artists adopt in response to the challenges of health. Therefore, this article investigates different scenarios where brain injuries and disorders have had a profound impact on artists, leading to the emergence of new talents, changes in artistic styles, and unexpected improvements in their work, as well as adaptations in their artistic practices, as represented by some painters such as Tommy McHugh (1949 -2012), Francisco Goya (1746-1828), Otto Dix (1891-1969), Willem de Kooning (1904-1997), William Charles Utermohlen (1933-2007) and Charles Meryon (1821-1868). Consequently, works of art can be valuable but understudied tools for understanding brain dysfunction, although they must be interpreted with great care.

Esta revisão narrativa aborda a complexa relação entre doenças neurológicas e expressão artística, que pode ter um impacto profundo na obra de um pintor. Esta exploração destaca a conexão dinâmica e em constante evolução entre a neurociência e a arte, oferecendo insights sobre as formas extraordinárias pelas quais o cérebro humano e a expressão artística se cruzam e evoluem. Após danos cerebrais, pode haver o surgimento de talentos artísticos repentinos, mudanças intrigantes nos estilos de artistas estabelecidos, a facilitação paradoxal de habilidades artísticas, apesar do declínio cognitivo consequente a essas lesões, além de estratégias de enfrentamento que os artistas adotam em resposta aos desafios de saúde. Portanto, este artigo investiga diferentes cenários onde lesões e distúrbios cerebrais tiveram um impacto profundo nos artistas, levando ao surgimento de novos talentos, mudanças nos estilos artísticos e melhorias inesperadas em seu trabalho, bem como adaptações em suas práticas artísticas, bem como representado por alguns pintores como Tommy McHugh (1949 -2012), Francisco Goya (1746-1828), Otto Dix (1891-1969), Willem de Kooning (1904-1997), William Charles Utermohlen (1933-2007) e Charles Meryon (1821-1868). Consequentemente, as obras de arte podem ser ferramentas valiosas, mas pouco estudadas, para a compreensão da disfunção cerebral, embora devam ser interpretadas com muito cuidado.

Artistic expression and data protection: Balancing aesthetics with data privacy in IoT.

Integrating Internet of Things (IoT) technologies in art design has created new possibilities for artists to create immersive and interactive experiences. However, data collection, analysis, and utilization in IoT art installations raise significant security and privacy concerns. Additionally, incorporating differential privacy techniques in IoT art installations poses optimization challenges. This paper explores optimizing differential privacy budgets based on deep learning in IoT art installations. By leveraging deep learning models, privacy budgets can be dynamically allocated to preserve individual privacy while maintaining the aesthetic integrity of the artwork. In light of this, a deep learning-based differential privacy budget optimization strategy for IoT art installations is suggested. This method adaptively distributes various budgets by the iterative change law of parameters. A regularization term is provided to limit the disturbance term to avoid the issue of excessive noise. This stops the neural network from overfitting and also assists in learning the model's salient characteristics. The capacity of the model to generalize is effectively improved by the suggested strategy, according to experiments. The accuracy difference between the model trained with noise and the model trained with original data is less than 0.5% as the number of iterations increases. Therefore, the proposed method can protect the user's privacy, effectively ensure the model's availability, and achieve the balance between privacy and availability. This accuracy ensures that the installation functions as intended and delivers the desired aesthetic impact, enabling artists to convey their artistic message effectively.

Integration of Arts and Health Sciences in Developing an Opera on Veteran Resilience and Recovery.

There is an emerging literature on research interviews to inform arts projects, but little on opera. This case study illustrates how research data informed an opera on Veteran recovery. Deidentified interviews were selected from 280 adults with a history of depression at 10-year follow-up to a randomized trial. Interviews were used to inform characters, storyline, and libretto. Ethical strategies included: changing details and merging stories and characters to create two Veterans and one spouse as leads, a storyline, and choral passages, with a focus on recovery from post-traumatic stress and homelessness. To engage a broad audience and address stigma, accessible composition techniques (melody, harmony) were used. We found that qualitative/mixed data can inform libretto and composition for an opera on Veteran recovery, through integrating art and health science.

Empathy and the art of Leonardo da Vinci.

Knowledge about empathy is part of the study of artistic expressions, among which stand out works of personalities such as the Renaissance polymath Leonardo da Vinci, who was concerned with the connection between science and art during his creative research full of imagination and sensitivity to nature and human anatomy. The word empathy emerged among critics of German art as the term einfühlung, which was used within the aesthetic bias by philosophers and art historians. It emphasized the idea that a viewer perceiving an object could establish a link between it and themselves, projecting the object 'into themselves'. That is, the artwork could be experienced by the observer as if the viewer belonged predominantly to the object, in such a way that its characteristics could be actually felt through the expression of emotions, feelings and thoughts. This analysis of art appreciation required a great deal of knowledge and contemplation of nature, as understood by the German Romanticists, who had enormous admiration for da Vinci and his universal and systematic mind-a mind which reacted against formalisms, building his intellectual and sensory systems based on both his observation of nature and his own criteria. In particular, the art of painting for Leonardo was a way to demonstrate a mental discourse, just as the most important aspect of human portraits is to represent-in gestures and facial expressions-the states of mind and emotions. These are facts that German Romanticists tried to explain as the relationship between empathy and a work of art. The present manuscript aims to describe empathy from an artistic view, considering the roots of this word in German Romanticism; to comment about Leonardo da Vinci and the expression of art in the Renaissance; and, finally, to discuss the expression of his art in relation to empathy.

A BCI painting system using a hybrid control approach based on SSVEP and P300.

Brain-computer interfaces (BCIs) can help people with disabilities to communicate with others, express themselves, and even create art. In this paper, a BCI painting system using a hybrid control approach based on steady-state visual evoked potential (SSVEP) and P300 was developed, which can enable simple painting through brain-controlled painting tools. The BCI painting system is composed of two parts: a hybrid stimulus interface and a hybrid electroencephalogram (EEG) signal processing module. The user selects the menus and tools through the SSVEP and P300 stimulus matrices, respectively, and the paintings are displayed in the canvas area of the hybrid stimulus interface in real time. Twenty subjects participated in this study. An offline training experiment was performed to construct the P300 and SSVEP recognition models for each subject; an online painting experiment, which included a copy-painting task and a free-painting task, was performed to evaluate the BCI painting system. The results of the online painting experiment showed that the average tool selection accuracy (88.92 ± 3.94%) of the BCI painting system using the hybrid stimulus interface was slightly higher than that of the traditional brain painting system based on the P300 stimulus interface; the average information transfer rate (ITR) (74.20 ± 5.28 bpm, 71.80 ± 5.15 bpm) in the copy-painting and free-painting tasks of the BCI painting system was significantly higher than that of the traditional brain painting system. Our BCI painting system can effectively help users express their artistic creativity and improve their painting efficiency, and can provide new methods and new ideas for developing BCI-controlled applications.

Opening Minds through Art: A preliminary study evaluating the effects of a creative-expression program on persons living with dementia and their primary care partners.

For people living with dementia and their care partners, a decline in the ability to effectively communicate can cause significant distress. However, in recent decades, the arts have emerged as an effective care modality in fostering communication and expression for those with declining verbal skills and memory loss. Opening Minds through Art (OMA) is a national initiative that empowers people living with dementia by facilitating creative expression and social engagement through art-making in partnership with trained college student volunteers. Research has demonstrated that participation in the program benefits quality of life for those living with dementia and also improves student attitudes toward dementia. To date, however, no research has involved primary care partners. We implemented an OMA program at three residential care homes in State College, Pennsylvania, with residents cocreating artwork alongside primary care partners (i.e., a family member or primary medical personnel) over the course of four art-making sessions. We evaluated the effects of participation on quality of life and care partner burnout through pre-post use of "emotional thermometers" (measuring levels of distress, anxiety, depression, anger, and perceived quality of life), the National Institute of Health NIH emotional support scale, and the NIH caregiver assessment (care partner burnout). For people living with dementia, participation significantly increased perceived quality of life while decreasing distress, anxiety, depression, and anger (p < .01; n = 12) after each class; however, the intervention did not significantly impact perceived emotional support. For care partners, participation significantly lowered post-intervention measures of burnout and self-rated stress (p < .01; n = 9). This preliminary study suggests that a structured art-based activity appears to positively impact acute mood for patients and, importantly, decrease care partner burnout. Future research can bring more robust methods to bear in determining how to use OMA and other arts interventions to optimize social support for people living with dementia and their care partners.

A terapêutica de um "CAPS AD" em um coletivo de fotografia / The Therapeutics of a "CAPS AD" in a Photography's Collective

Sendo fundamental a manutenção de um processo de reflexão constante para que a consolidação da Reforma Psiquiátrica possa se dar sem um "engessamento" de práticas que atrapalharia a proposta de atendimento personalizado, adequado à realidade específica de cada caso, faz-se importante observar as experiências que vêm acontecendo nos dispositivos de Atenção Psicossocial. Por isto, este artigo relata experiências ocorridas em um CAPS AD nos anos de 2011 a 2014, narrando o processo de implementação de uma oficina de fotografia e suas implicações. Percebeu-se que, propondo uma atividade aberta, flexível às demandas dos usuários, foi possível despertar interesses artísticos e de gestão, que culminaram no engajamento em um coletivo de fotografia - algo que não se deu por uma obrigatoriedade de frequência a atividades, mas por uma abertura da oficina aos interesses de cada participante, o que funcionou melhor para o aumento da "adesão".(AU)

Considering that it´s fundamental to maintain a process of constant reflection so that the consolidation of the Brazilian Psychiatric Reform can take place without a "plastering" of practices that would hinder the proposal of personalized care, adequate to the specific reality of each case, it is important to observe the experiences that have been happening in the devices of Psychosocial Attention. For this reason, this article reports the experiences that occurred in a CAPS AD in the years 2011 to 2014, narrating the process of implantation of a photography workshop and its implications. It was noticed that, by proposing an open, flexible activity to the user´s demands, it was possible to arouse artistic and management interests, which culminated in the engagement in a photography collective - something that was not due to an obligation to attend activities, but to an opening of the workshop to the interests of each participant, which worked best for increase "membership" and the frequency.(AU)

Surdocegueira, Cartografia e Decolonialidade / Deafblindness, Cartography and Decoloniality / Sordoceguera, Cartografía y Decolonialidad

O presente artigo é composto de parte de minha pesquisa de doutorado, cujo propósito foi buscar interfaces entre os campos da Surdocegueira e da Arte. O trabalho foi desenvolvido com pessoas surdocegas, seus familiares e profissionais do Programa de Atendimento e Apoio ao Surdocego (PAAS), do Instituto Benjamin Constant, situado no Rio de Janeiro. Através do método da cartografia, a pesquisa acompanhou processos de trabalho no PAAS agenciando-se aos interesses do território estudado e dos sujeitos participantes, dentre os quais destacamos neste artigo aexperiência vivida com uma pessoa surdocega. Para lidar com as especificidades da surdocegueira busquei suporte em estudos filosóficos e sociológicos. Na filosofia, de grande ajuda foram as reflexões sobre a fenomenologia da percepção de Maurice Merleau-Ponty. Na sociologia, tornaramse muito operativos os conceitos de Pensamento Abissal e Ecologia de saberes trazidos por Boaventura de Souza Santos. Para uma reflexão filosófica sobre a arte, busquei em Rancière e sua política estética instrumentos para legitimar as experiências observadas. No campo da deficiência e da Surdocegueira, foram fundamentais os diálogos com os saberes de perspectivas biopsicossociais a respeito da surdocegueira. Os resultados apontam a relevância da arte para a expressão do ser, para a comunicação, para a ampliação da percepção e para o entendimento de mundo de pessoas surdocegas. Do mesmo modo, revelam o potencial do campo da surdocegueira para o campo das artes, suscitando ampliações e enriquecimentos nos modos de perceber, conceber, fazer e fruir arte....(AU)

This article is composed of part of my PhD research, whose purpose was to search for interfaces between the Deafblind and Art fields. The work was developed with deafblind people, their relatives and professionals of the Program of Attention and Support to the Deafblind, from the Benjamin Constant Institute, located in Rio de Janeiro. Through the method of cartography, the research followed work processes in the Program of Attention and Support to the Deafblind taking care of the interests of the territory studied and the subjects involved, among which we highlight in this article the experience lived with a deafblind person. In order to deal with the specifics of deafblindness I sought support in philosophical and sociological studies. In the philosophy, of great help were the reflections on the phenomenology of the perception of Maurice Merleau-Ponty. In sociology, the concepts of Abyssal Thought and Ecology of knowledge brought by Boaventura de Souza Santos became very operative. For a philosophical reflection on art, I sought in Rancière and his aesthetic policy instruments to legitimize the observed experiences. In the field of disability and the Deafblindness, the dialogues with the knowledge of biopsychosocial perspectives on deafblindness were fundamental. The results point to the relevance of art to the expression of being, to communication, to the expansion of perception and to the world understanding of deafblind people. Likewise, they reveal the potential of the field of deafblindness to the field of the arts, raising extensions and enrichments in the ways of perceiving, conceiving, making and enjoying art....(AU)

El presente artículo se compone de parte de mi investigación de doctorado, cuyo propósito fue buscar interfaces entre los campos de la Sordoceguera y del Arte. El trabajo fue desarrollado con personas sordociegas, sus familiares y profesionales del Programa de Atención y Apoyo al Sordociego (PAAS), del Instituto Benjamin Constant, situado en Río de Janeiro. A través del método de la cartografía, la investigación acompañó procesos de trabajo en el PAAS agenciándose a los intereses del territorio estudiado y de los sujetos participantes, entre los cuales destacamos en este artículo la experiencia vivida con una persona sordociega. Para tratar con las especificidades de la sordoceguera busqué soporte en estudios filosóficos y sociológicos. En la filosofía, de gran ayuda fueron las reflexiones sobre la fenomenología de la percepción de Maurice Merleau-Ponty. En la sociología, se tornaron muy operativos los conceptos de Pensamiento Abisal y Ecología de saberes traídos por Boaventura de Souza Santos. Para una reflexión filosófica sobre el arte, busqué en Rancière y su política estética instrumentos para legitimar las experiencias observadas. En elcampo de la discapacidad y de la Sordoceguera, fueron fundamentales los diálogos con los saberes de perspectivas biopsicosociales acerca de la sordoceguera. Los resultados apuntan a la relevancia del arte para la expresión del ser, para la comunicación, para la ampliación de la percepción y para el entendimiento de mundo de personas sordociegas. De la misma manera, revelan el potencial del campo de la sordoceguera para el campo de las artes, suscitando ampliaciones y enriquecimientos en los modos de percibir, concebir, hacer y disfrutar arte....(AU)

A expressão plástica e a música erudita como recursos da animação sociocultural a idosos institucionalizados / The plastic expression and the erudite music as resources of the sociocultural animation to institutionalized elders / La expresión plástica y la música clásica como recursos de la animación sociocultural a ancianos institucionalizados

O artigo objetiva apresentar os resultados de um estudo exploratório-descritivo, sobre a importância da expressão plástica e da música erudita, práticas legitimadas neste estudo como de animação sociocultural a idosos, diagnosticados por seus cuidadores, como apresentando doenças crónico-degenerativas, ou distúrbios psiquiátricos. As duas manifestações artísticas funcionam como um expoente de liberdade e de reencontro de um idoso com as próprias emoções, e com as de outro idoso. Foi aplicado o método qualitativo, complementado pela observação-participante, tendo-se verificado que as duas expressões de arte, ao gerar dinâmicas potencializadoras à ressignificação do Eu do idoso, mostram-se uma via de combate às rotinas da velhice institucionalizada.

The article aims to present the results of an exploratory-descriptive study on the importance of artistic expression and classical music, practices legitimized in this study as 'sociocultural encouragement' to the elderly, diagnosed by their caregivers, as presenting chronic-degenerative diseases, or Psychiatric disorders. The two artistic manifestations function as an exponent of freedom and the reunion of an elderly person with their own emotions, and with those of another elderly person. The qualitative method was applied, complemented by participant observation, and it was verified that the two expressions of art, by generating potentializing dynamics to the resignification of the ego of the elderly, are a way of combating the routines of institutionalized old age.

El artículo pretende presentar los resultados de un estudio exploratorio-descriptivo sobre la importancia de la expresión artística y la música clásica, prácticas legitimadas en este estudio como "animación sociocultural" a las personas mayores, diagnosticadas por sus cuidadores, que tienen enfermedades crónico-degenerativas o desórdenes psiquiátricos. Las dos expresiones artísticas funcionan como un exponente de la libertad y el reencuentro de una persona mayor con sus propias emociones, y con las de otra persona mayor. Se aplicó el método cualitativo, complementado con la observación participante, y se verificó que las dos expresiones del arte, generando dinámicas potencializadoras a la resignificación del yo de los ancianos, son una forma de combatir las rutinas de la vejez institucionalizada.

Sur les opérateurs visuels et sonores du partage de la pensée / About visual and sound operators for the sharing of thinking

Pour aborder un champ d’études peu développé en psychologie sociale, l’approche des représentations sociales par le biais des oeuvres artistiques, l’article présente les attendus d’unerecherche internationale en cours. Cette recherche a fait l’objet d’un symposium lors de la dernière Conférence Internationale sur les représentations sociales de Sao Paulo. Elle porte sur laréception et l’interprétation d’une œuvre filmique composée de trois films (la Trilogie Qatsi) qui donnent à voir l’état contemporain du monde lié à la globalisation en usant seulement de l’image et de la musique, sans recours ni à la narrativité, ni au langage. Après un examen des contributions qui, de plus en plus nombreuses en sciences sociales, lient les processus représentationnels et les valeurs sociales aux formes d’expression artistique, le modèle de la Mimesis de Ricoeur permet traiter des cadres et de la portée de la Trilogie Qatsi. (AU)

In order to take up a field study scarcely developed in social psychology, theapproach of social representations in a roundabout way of artistic works, the article presents thetheoretical basis of a current international research. This research has been dealt in the lastInternational Conference on Social Representation, in Sao Paulo. Its aim is to study the receptionand interpretation of a set of three movies (The Qatsi Trilogy) that give a view of the contemporary state of the world due to globalization, using uniquely images and music, withouthaving recourse to narrative nor language. After having examined the contributions that, more and more numerous in social sciences, establish a link between representational processes, social values and artistic forms of expression, the Mimesis model of Ricoeur helps to handle the frame and significance of the Qatsi Trilogy. (AU)

Sur les opérateurs visuels et sonores du partage de la pensée / About visual and sound operators for the sharing of thinking

Pour aborder un champ d’études peu développé en psychologie sociale, l’approche des représentations sociales par le biais des oeuvres artistiques, l’article présente les attendus d’unerecherche internationale en cours. Cette recherche a fait l’objet d’un symposium lors de la dernière Conférence Internationale sur les représentations sociales de Sao Paulo. Elle porte sur laréception et l’interprétation d’une œuvre filmique composée de trois films (la Trilogie Qatsi) qui donnent à voir l’état contemporain du monde lié à la globalisation en usant seulement de l’image et de la musique, sans recours ni à la narrativité, ni au langage. Après un examen des contributions qui, de plus en plus nombreuses en sciences sociales, lient les processus représentationnels et les valeurs sociales aux formes d’expression artistique, le modèle de la Mimesis de Ricoeur permet traiter des cadres et de la portée de la Trilogie Qatsi...

In order to take up a field study scarcely developed in social psychology, theapproach of social representations in a roundabout way of artistic works, the article presents thetheoretical basis of a current international research. This research has been dealt in the lastInternational Conference on Social Representation, in Sao Paulo. Its aim is to study the receptionand interpretation of a set of three movies (The Qatsi Trilogy) that give a view of the contemporary state of the world due to globalization, using uniquely images and music, withouthaving recourse to narrative nor language. After having examined the contributions that, more and more numerous in social sciences, establish a link between representational processes, social values and artistic forms of expression, the Mimesis model of Ricoeur helps to handle the frame and significance of the Qatsi Trilogy...

An Audience's Subjective Experience of the Freedom of Artistic Expression in Different Dance Forms from the Perspective of the Cultural Psychology of Creativity: un enfoque de la psicología cultural de la creatividad / La experiencia subjetiva del observador sobre la libertad de expresión artística en las formas diferentes de la danza

Previous studies on different dance forms, including classical ballet, modern ballet and flamenco, show that the objective classification of these forms of dance is subjectively relevant, or in other words, the subjective categorization of dance is based on its formal properties. Based on this standpoint, this study aims to examine the audience's subjective experience of the freedom of artistic expression in three dance forms: classical ballet, modern ballet and flamenco. This study also aims to place an audience's subjective experience of the freedom of artistic expression in different dance forms, into the context of the cultural psychology of creativity. Sixty-nine participants assessed three choreographies from each dance form. The participants observed the choreographies audio-visually. The assessment of the freedom of artistic expression included seven-point scales of freedom to use space, use different figures and to express different emotions. The results showed that the dance form effects the assessment of an audience's subjective experiences (using these 3 criteria) in relation to the freedom of artistic expression. Likewise, Choreography has a marked effect on the assessment of subjective experience within the aforementioned criteria for the freedom of artistic expression within each observed dance form. In conclusion, a dance form determines, by its formal characteristics, not only how certain choreography will be created, but also how an audience will experience the choreography. The various implications of the research results on creativity in the field of dance, and the importance of understanding the complex dialogical connections between particular dance forms, choreographers, choreographies and audience in the context of the cultural psychology of creativity were discussed.

Este artículo tiene por objeto examinar la experiencia subjetiva del observador de la libertad de expresión artística en tres formas de danza: ballet clásico, ballet moderno y baile flamenco; adicionalmente, pretende situar la investigación en el contexto de la psicología cultural de la creatividad. Los 69 participantes evaluaron tres coreografías para cada forma de danza, observándolas a través de audiovisuales. La estimación de la libertad de expresión artística incluye tres escalas de siete puntos: libertad de usar el espacio, libertad de utilizar diferentes figuras y libertad para expresar sus emociones. Los resultados muestran que la forma de danza tiene un efecto significativo sobre la estimación de la experiencia subjetiva de estos tres criterios y que la coreografía tiene un marcado efecto sobre la estimación de la experiencia subjetiva sobre la libertad de expresión artística dentro de cada forma de la danza observada. Los resultados sugieren que una forma de danza determina, por sus características formales, no solo la coreografía, o cómo se creará, sino también cómo un observador experimentará la coreografía creada. Se discuten las diversas implicaciones de los resultados en la creatividad en el área de la danza, y la importancia de entender las conexiones complejas y dialógicas entre forma particular de danza, coreógrafo, coreografía y observadores, en el contexto de la psicología cultural de la creatividad.

Bion's "Evidence" and his theoretical style.

The author discusses "Evidence" (1976), a brief but very intense and fascinating paper in which Bion provides a unique opportunity to see him at work in his clinical practice. In the story of a patient, Bion reconstructs two sessions that are all the more true for being imaginary-i.e., narrated ("dreamed"). The matter of language and style in psychoanalysis is of the utmost importance, according to Bion-one could say, literally, a matter of life or death. In Bion's discourse, writing, reading, and analysis converge in the same place, the author notes; all are significant if they involve an experience of truth and the ability to learn from experience.